MADE IN AMERICA -...

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2015/16 Season

MADE IN AMERICAFriday, September 11, 2015 at 7 p.m.Helzberg Hall, Kauffman Center for the Performing Arts

ARAM DEMIRJIAN, associate conductorJUSTINE LAMB-BUDGE, violinist

COPLAND Fanfare for the Common Man

IVES The Unanswered Question

GERSHWIN/BENNETT Selections from Porgy and Bess

BARBER Concerto for Violin and Orchestra, op. 14 I. Allegro

JUSTINE LAMB-BUDGE, violinist

JOHN ADAMS Lollapalooza

BERNSTEIN Symphonic Dances from West Side Story I. Prologue II. “Somewhere” III. Scherzo IV. Mambo

CLASSICSUNCORKED

2 2015/16 SEASON

Kansas City SymphonyAbout ARAM DEMIRJIAN

Aram Demirjian was born into a musical family in Lexington, Mass., where he nurtured his love for music by playing cello and singing. The first orchestra he ever conducted was the Lexington High School Honors Orchestra on his 18th birthday, one week before graduation. Still not thinking that a career in music was for him, he went off to Harvard University to study government, but switched gears after two seasons conducting the Harvard Bach Society Orchestra. After studying conducting at New England Conservatory, he was saved from life as a starving artist when the Kansas City Symphony offered him a position. He has lived in Kansas City ever since and could not be more thrilled with his life here.

When Aram is not in Helzberg Hall at the Kauffman Center for the Performing Arts, you can usually find him at his desk studying music scores, escaping in a good book or watching his beloved Patriots, Celtics and Red Sox — and Royals, whom he has adopted as his own! Although he did not go into politics, he is still obsessed with the show “The West Wing” and can quote it at length.

Aram was 7 years old when his mother first taught him how to conduct a 4/4 pattern, and he always enjoyed being the line-leader in school…

…in hindsight, his career path seems rather predictable.

KANSAS CITY SYMPHONY 3

Kansas City SymphonyORCHESTRA ROSTER

MICHAEL STERN, Music DirectorARAM DEMIRJIAN, Associate Conductor

FIRST VIOLINSNoah Geller, Concertmaster Miller Nichols ChairJustine Lamb-Budge^, Associate ConcertmasterSunho Kim, Assistant ConcertmasterGregory Sandomirsky, Associate Concertmaster EmeritusAnne-Marie BrownAnthony DeMarcoSusan Goldenberg*Jessica Wakefield Hao‡Tomoko IguchiLisa Jackson ΔDorris Dai JanssenChiafei LinVladimir RykovAlex Shum*Stirling Trent^

SECOND VIOLINSTamamo Someya Gibbs, PrincipalKristin Velicer, Acting Associate PrincipalNancy BeckmannKathy Haid BerryStephanie CathcartMinhye Helena ChoiMary Garcia GrantKevin HaoSara Hurst‡Kazato InouyeRena IshiiFrancesca Manheim

VIOLASChristine Grossman, PrincipalYouming Chen, Associate PrincipalJessica Nance, Assistant PrincipalKent BrauningerSean Brumble Marvin Gruenbaum Duke LeeJenifer RichisonMatthew Rombaum

CELLOSMark Gibbs, Principal Robert A. Kipp ChairSusie Yang, Associate Principal Richard Hill ChairAlexander East, Assistant Principal Maria CrosbyJohn EadieLawrence FiggRung Lee*Meredith McCook^Allen Probus

DOUBLE BASSESJeffrey Kail, PrincipalVacant, Associate PrincipalEvan HalloinOwen Levine ^ ΔBrandon Mason^Richard RyanKeith Wymer

FLUTESMichael Gordon, PrincipalShannon Finney, Associate PrincipalDiane Schick

PICCOLODiane Schick

OBOESKristina Fulton, Principal Shirley Bush Helzberg ChairAdam De Sorgo ^ Δ, Associate Principal Kenneth Lawrence

ENGLISH HORNKenneth Lawrence

CLARINETSRaymond Santos, PrincipalGabriel Campos Zamora, Associate PrincipalJohn Klinghammer Δ

E-FLAT CLARINETGabriel Campos Zamora

BASS CLARINETJohn Klinghammer Δ

BASSOONSAnn Bilderback, Principal Barton P. and Mary D. Cohen ChairThomas DeWitt, Associate PrincipalMarita Abner

CONTRABASSOONThomas DeWitt

HORNSAlberto Suarez, Principal Landon and Sarah Rowland ChairDavid Sullivan, Associate PrincipalElizabeth GrayDavid GambleStephen Multer, Associate Principal Emeritus

TRUMPETSJulian Kaplan^, Principal James B. and Annabel Nutter ChairPhilip Clark, Associate PrincipalBrian Rood

TROMBONESRoger Oyster, PrincipalPorter Wyatt Henderson, Associate PrincipalAdam Rainey

BASS TROMBONEAdam Rainey

TUBASteven Seward, Principal

TIMPANI Timothy Jepson, Principal

PERCUSSIONChristopher McLaurin, PrincipalJoseph Petrasek, Associate Principal

HARPDeborah Wells Clark, Principal

LIBRARIANSElena Lence Talley, PrincipalFabrice Curtis

Justin White, Personnel ManagerMatt Henderson,

Assistant Personnel ManagerDavid Tebow, Stage ManagerMark Watson,

Assistant Stage Manager* Non-Rotating Musician ^ New Member‡ On Leave of Absence Δ One-Year Member

Fanfare has been played by many and varied ensembles, ranging from the U.S. Air Force Band to the popular Emerson, Lake, and Palmer group ... I confess that I prefer Fanfare in the original version…

— Aaron Copland

Appearance:Resounding, glittering, sharply defined.

Bouquet:Open and engaging, earthy.

Flavor:Fresh, vivid and bold with an honest forthrightness. Hearty and full-bodied, like a Norton (Missouri’s official state grape!).

Finish:Explosive, huge, spine-tingling!

4 2015/16 SEASON

Kansas City SymphonyTASTING NOTES by Eric Williams

COPLANDFanfare for the Common Man

Aaron Copland’s Fanfare for the Common Man was composed just months after the United States entered World War II. Copland recalled the work’s origin:

“Eugene Goossens, conductor of the Cincinnati Symphony Orchestra, had written to me at the end of August about an idea he wanted to put into action for the 1942-43 concert season. During World War I he had asked British composers for a fanfare to begin each orchestral concert. It had been so successful that he thought to repeat the procedure in World War II with American composers. ”

Copland deliberated over several titles before settling on Fanfare for the Common Man. He noted, “it was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.” Goossens responded to Copland’s choice:

“Its title is as original as its music, and I think it is so telling that it deserves a special occasion for its performance. If it is agreeable to you, we will premiere it 12 March 1943 at income tax time. ” (Taxes were due March 15th that year.) Copland’s reply was “I [am] all for honoring the common man at income tax time. ”

Appearance:Tranquil, serene, with a pleasing clarity but unusual color and great depth.

Bouquet:An unexpected mix unfolds. Delicate floral aroma accented by confusingly sharp herbal notes and an inviting scent of opulent spices.

Flavor:The base flavor is sweet and rich but it continually changes, tasting one moment like a rich moscato, then a hearty cabernet followed by a flinty sauvignon blanc.

Finish:Lingers on the palate.


IVESThe Unanswered Question

Charles Ives was an American original (read: maverick, nonconformist, iconoclast, radical, revolutionary). Born in Connecticut, Ives studied at Yale University and led a seemingly conventional life as a New York insurance executive. But his nights and weekends were devoted to composition, exploring experimental techniques such as polytonality, tone clusters, polyrhythms and quarter tones, foreshadowing many musical innovations of the 20th century. His music was largely ignored during his life, and many of his works went unperformed for years.

Ives used a variety of titles for this work, including:

“Largo to Presto: The Unanswered Question: A Cosmic Landscape”

“A Contemplation of a Serious Matter”

“The Unanswered Perennial Question”

Written in 1906 and revised to this version in the 1930s (but not premiered until 1946), Ives’ miniature drama eloquently expresses his philosophy that in contemplating the vastness and sublime nature of creation, a question is more lasting than any answers.

The Unanswered Question has three basic elements. The strings create a timeless and seemingly infinite palette of sound that Ives described as “the silence of the Druids.” Against this cosmic background, a solo trumpet repeatedly intones a mysterious phrase representing “the perennial question of existence.” In response, a quartet of woodwinds — “the fighting answerers” — proffers increasingly agitated and discordant answers. The trumpet’s last query is answered by silence.

6 2015/16 SEASON


GERSHWINarr. BENNETTSelections from Porgy and Bess

George Gershwin composed Porgy and Bess in 1934 based upon DuBose Heyward’s novel Porgy, which tells the story of a disabled black beggar living in the slums of Charleston, S.C., and his attempts to rescue Bess from Crown, her violent lover, and Sportin’ Life, the drug dealer. Gershwin spent the summer of 1934 near Charleston, getting a feel for the locale while composing the opera.

In a 1935 New York Times article, Gershwin offered the following insight:

“Porgy and Bess is a folk tale. Its people naturally would sing folk music. When I first began work in the music I decided against the use of original folk material because I wanted the music to be all of one piece. Therefore I wrote my own spirituals and folksongs. But they are still folk music — and therefore, being in operatic form, Porgy and Bess becomes a folk opera.”

With appealing melodies built on a foundation of refined harmonies, the music of Porgy and Bess has long been popular, especially in concert arrangements. Robert Russell Bennett’s arrangement, made in 1942 at the behest of conductor Fritz Reiner, is perhaps the best known. In the 1930s, Bennett worked as Gershwin’s assistant, helping with his Broadway and film scores. Following Gershwin’s untimely death in 1937, Bennett was called upon to orchestrate several of Gershwin’s works. Bennett remarked, “I have been careful to do what I knew — after many years of association with Gershwin — Gershwin would like as a symphonic version of his music.”

Appearance:Bell-like and dolce, gradually unfolding to a light syncopated swing.

Bouquet:Dreamy, floating, sensuous and languid oboe solo that leads to a carefree and toe-tapping trombone tune. The strings sing wistfully with great sincerity … definitely heartstrings. Flavor:Straightforward with a hint of swagger giving way to a sinuous, curvaceous melody. Just a few notes deliciously repeated. Layers of flavors like a rich chardonnay.

Finish:Vibrant, audacious, grand.


BARBERConcerto for Violin and Orchestra, op. 14 I. Allegro

Samuel Barber and violinist Iso Briselli were members of the first class to matriculate at the newly established Curtis Institute of Music in 1924, finishing their studies there in 1933. It was a logical career move for both to have Barber write a violin concerto for his friend Briselli. Industrialist/philanthropist Samuel Fels (of Fels-Naptha soap wealth) offered the $1,000 commission in 1939 on behalf of Briselli. Barber began writing the concerto in Switzerland but the onset of World War II prompted his return to the U.S. In mid-October, he gave the first two movements to Briselli who was pleased with the work. But that approval evaporated when Briselli saw the completed third movement. Following a convoluted series of letters and meetings, Barber declined to rewrite the third movement and Briselli relinquished his claim on the concerto. Despite this uncomfortable circumstance, the two remained friends for the rest of their lives. The concerto received its premiere in February 1941 played by American violinist Albert Spalding with the Philadelphia Orchestra conducted by Eugene Ormandy.

Appearance:Violin immediately starts spinning a honeyed and elegant melody that seems to go on forever. Pure color, with a deep luminescence.

Bouquet:Playful and bouncy with upward sweeps that subside to a soothing and relaxing fragrance.

Flavor:Luscious sweetness carefully balanced with the barest hint of angst and uncertainty. Maybe a touch of melancholy. Highly romantic; soaring violin over a gently throbbing heartbeat. Overflowing, resplendent full orchestra. A sauternes from Château d’Yquem.

Finish:Intense, gradually calming to a gentle and tender ending.

I was meant to be a composer and will be I’m sure ... Don’t ask me to try to forget this unpleasant thing and go play football — please. [A note to his mother, written at age 9.]

— Samuel Barber

8 2015/16 SEASON


JOHN ADAMSLollapalooza

John Adams comments about Lollapalooza:

“Lollapalooza was written as a 40th birthday present for Simon Rattle who has been a friend and collaborator for many years. The term ‘lollapalooza’ has an uncertain etymology, and just that vagueness may account for its popularity as an archetypical American word. It suggests something large, outlandish, oversized, not unduly refined. H.L. Mencken suggests it may have originally meant a knockout punch in a boxing match. I was attracted to it because of its internal rhythm: da-da-da-DAAH-da. Hence, in my piece, the word is spelled out in the trombones and tubas, C-C-C-E flat-C (emphasis on the E flat) as a kind of idée fixe. The ‘lollapalooza’ motive is only one of a profusion of other motives, all appearing and evolving in a repetitive chain of events that moves this dancing behemoth along until it ends in a final shout by the horns and trombones and a terminal thwack on timpani and bass drum.”

Appearance:Catchy. Seems almost simplistic but with an appealing iridescence. Bouquet:Adding and transforming layers and layers. Wait for it: lol-la-pa-LOOZ-a!

Flavor:Nuanced and constantly shifting; kaleidoscopic; wild and profuse, almost like an adventure movie soundtrack. A bit like a cabernet-zinfandel-moscato-pinot-riesling-shiraz-chardonnay-malbec-nebbiolo-chambourcin-merlot! Finish:Swirls of sound gradually dissipating to one last “whomp.”

I don’t think in terms of formulas for success. Any really serious artist does what he or she wants to do and risks having no audience for it. Many of the best composers like Charles Ives had no audience in their own lifetime. People tell me I’m tremendously successful, but it’s within a very tiny pool.

— John Adams


BERNSTEINSymphonic Dances from West Side Story I. Prologue II. “Somewhere” III. Scherzo IV. Mambo

Renowned choreographer Jerome Robbins approached Leonard Bernstein and lyricist Arthur Laurents in 1947 about collaborating on a contemporary musical adaptation of Shakespeare’s

“Romeo and Juliet.” Telling the story through the lens of Irish-Catholic/Jewish conflict set in lower Manhattan, the project (tentatively named East Side Story) was reluctantly shelved as the men pursued other endeavors.

Fast-forward to 1955. Bernstein was in Hollywood to conduct at the Hollywood Bowl and Laurents was there working on a screenplay. The two met at the Beverly Hills Hotel and the ensuing discussion eventually turned to the topic of gangs, much in the news. Bernstein suggested that they rework East Side Story and set it in Los Angeles but Laurents preferred Harlem. They contacted Robbins who enthusiastically signed on. Stephen Sondheim and Hal Prince eventually joined the team which worked feverishly to prepare the show for its resoundingly successful 1957 Broadway run of 732 performances.

Bernstein’s eclectic score for West Side Story encompasses everything from Tin Pan Alley and opera to cool jazz and Latin dances. With its dark theme and sophisticated music, West Side Story had more dancing than any previous Broadway show, using dance as an integral narrative element. While Symphonic Dances doesn’t follow the theatrical sequence, the music flows with an inherent logic leading inexorably to the story’s tragic conclusion.

Appearance:Angular and lean; love the finger snaps! Jazzy and zingy with a driving energy eventually fading around a dark street corner. Bouquet:Gentle strings slowly building with tender passion, mellifluous horn and oboe duet, somewhat bittersweet fragrance … the echo of a memory as lovers part.

Flavor:Irrepressible and vivacious; a perfectly balanced riesling with a vibrant tang.

Finish:Adrenaline rush, in-your-face, brash, exhilarating.

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Kansas City SymphonyAbout JUSTINE LAMB-BUDGE

JUSTINE LAMB-BUDGE, violinist

Violinist Justine Lamb-Budge is bringing “youthful vibrancy” to orchestral performances on stages across North America and Europe. “The great skill, passion and nuance of her playing and her strong commitment to the critically important role of concertmaster is an inspiration to all of us,” says Piotr Gajewski, Music Director of the National Philharmonic in Washington D.C., where Lamb-Budge was concertmaster from 2011 to 2013.

Lamb-Budge was a finalist for the Philadelphia Orchestra and San Francisco Ballet concertmaster auditions last year. This year, she performed as guest concertmaster of the National Symphony Orchestra and the Buffalo Philharmonic, as a candidate for the associate concertmaster and concertmaster positions, respectively. She previously held the positions of concertmaster of the Canton Symphony Orchestra (2013-2015), concertmaster of the Mansfield Symphony (2013-2014), associate concertmaster of the Akron Symphony Orchestra (2013-2014), principal second violin of Symphony in C (2012-2013), and was

principal second violin and associate concertmaster of the Curtis Symphony Orchestra, respectively, during her last two years there. She also frequently performs with the Philadelphia and Cleveland orchestras.

Lamb-Budge studied with Philadelphia Orchestra principal second violinist Kimberly Fisher prior to attending the Curtis Institute of Music where she studied with Joseph Silverstein and Ida Kavafian. She graduated in May from the Cleveland Institute of Music, where she received her Artist Diploma in Concertmaster Studies under the tutelage of William Preucil.

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ClassiCsUnCorked &Free Happy

HoUr seriesLearn about all of the Symphony musicians at kcsymphony.org.

We welcome Justine as our new associate concertmaster.

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ClassiCsUnCorked &Free Happy

HoUr series

DON’T MISS THE NEXT CLASSICS UNCORKED: WINTER’S DREAMWednesday, December 9 at 7 p.m.Helzberg Hall, Kauffman Center for the Performing ArtsAram Demirjian, associate conductorChristopher McLaurin, percussionist

Relive the child-like wonder of the holidays with music inspired by beloved fairy tales and folk stories, including the “Dream Pantomime” from Humperdinck’s Hansel and Gretel, and so many more. Tickets are only $25 or $30 each and include a glass of wine or champagne after the concert, when you can mingle with Symphony musicians in the Kauffman Center’s Brandmeyer Great Hall lobby. Sponsored by BMO Private Bank.

Proud sponsor of Classics Uncorked.To learn more, please contact:

Kelli GlynnSenior Vice PresidentManaging Director, BMO Private Bank816-448-6858 or [email protected]

• Wealth Advisory Services• Financial Planning• Investment Management• Private Banking• Trust and Estate Services• Philanthropic Advice

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BMO Private Bank is a brand name used in the United States by BMO Harris Bank N.A. Member FDIC. Not all products and services are available in every state and/or location. Estate Planning requires legal assistance, which BMO Harris Bank N.A. and its affiliates do not provide. Please consult with your legal advisor. Investment products are NOT FDIC INSURED - MAY LOSE VALUE - CARRY NO BANK GUARANTEE. ©2014 BMO Financial Corp.

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